"Deceptively simple, Uta Barth's photographic works question the traditional functions of pictures and our expectations of them. By photographing in ordinary anonymous places - in simple rooms, city streets, airports and fields - Bart
h uses what is natural and unstudied to shift attention away from the subject matter, and redirect focus to a consciousness of the processes of perception and the visceral and intellectual pleasures of seeing." http://www.tfaoi.com/aa/2aa/2aa239.htm
This statement from the Henry Art Gallery web page describing an exhibition of her work, gives a starting point from which to examine Barth's images and my own emerging ideas about image and reality, still point of exposure and the rip currents of time.
In working on the emulation assignments for http://img.ffffound.com/static-data/assets/6/7fd817bffcabd0d49de0995f36f8c1c3ee7b7ebf_m.jpg photo critique artist emulation assignments it became obvious that my own preferences were for slightly more subject in my subject-less blur work. I disagree that she refuses to tell a story, it seems to me that Barth places images in a way similiar to how T. S. Eliot placed images, on a slant, perfectly in line with the direction of the work but slightly (or extremely) unexpected and sometimes irritatingly obtuse to casual observer. In looking at her work one gets a tickling feeling that there is a place or moment here that one has already been to, a familiar ghost of an un-noted moment. Eliot also gives me that feeling....
|Under the brown fog of a winter dawn,|
|A crowd flowed over London Bridge, so many,|
|I had not thought death had undone so many.|
|Sighs, short and infrequent, were exhaled,|
|And each man fixed his eyes before his feet.||65|
|Flowed up the hill and down King William Street,|
|To where Saint Mary Woolnoth kept the hours|
|With a dead sound on the final stroke of nine.|
T.S. Eliot (1888–1965). The Waste Land. 1922.